College of Art and Built Environment

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Statuettes making with odds and ends in the Primary School
(1991) Gbesemete, Lord Nelson
Experience has shown that art as a subject of study is generally neglected in schools with the excuse that there are no art materials to work with. Generally speaking people think art refers to drawing and painting only. Some art teachers claim they themselves can neither draw nor paint and so art is either not taught or taught anyhow. Little do people and teachers in particular know that the numerous objects or waste materials thrown away every day as junk are very good resources for making exciting art works such as statuettes. The list of these materials is inexhaustible and includes bottle tops, woodchips, bits of paper, wire, tins and cans, pen tubes, seeds, sawdust and plastics. Identifying uses for such odds and ends takes some imagination, creativity, a bit of mental exercising and determination but the end results are always satisfying and encouraging. This manual is intended as a guide for using odds and ends found in our surroundings as raw materials for creating art forms, which can be appreciated for their intrinsic qualities or used as decorative pieces. The use of odds and ends in creating forms also aimed at educating the public about using art as a means of’ environmental protection.
Safari Park Resort (Shai-Hills)
(1998-02-22) Opata, Samuel
Within the context of the Forest Resource Management programme, the Ghana Government and the World Bank, have agreed on a comprehensive and systematic evaluation of wildlife protected areas in Ghana and develop plans to meet their conservation requirement for tourism. Shai Hills, Game Reserve was established by Ghana Wildlife Department to conserve flora and fauna as well as tourism opportunities. Unfortunately due to certain factors, the aims of the Reserve are not met. Animal populations have failed to expand, some have lessened and the natural flora is seriously threatened from Invasion of exotics. Furthermore, in spite of its relative proximity to Accra, and other urbanised areas, visitor interest is low. Presently the area is under-utilised by educationalist and researchers, due to poor management practices and facilities. The aim of this project is to find functional linkages between conservation of biological diversity, local socio-economic development and cultural tradition. This is because it is an accepted fact that for protected areas to survive in a long term, local people must be beneficiaries of the protected area. WILDFLIFE IN THE NATIONAL CONTEXT At present, Ghana has is protected terrestrial areas of different categories under the Ghana Wildlife department which extends over 1, 247,600 ha. or 5.2% of the country. These are: (I) National Parks (ii) Wildlife Sanctuaries (iii) Nature Reserves (iv) Wetland Ramsar Sites. Shai Hill Game Reserve is one of the protected areas declared as such. The some objectives of the protected areas in Ghana are as if. (i) Conservation of Valuable natural heritage (ii) Preservation and maintenance of natural processes (iii) Protection of some endangered species (iv) Promotion of tourism i.e. ecotourism. However, due to inherent problem within the Ghana wildlife department, it is difficult to achieve their objectives to the fullest, especially in the area of tourism. In view of these bottlenecks within G.W.D, it has outlined a policy on tourism to out-source research into tourism and award of concessions to tourist operators in some protected areas by paying ground rents to develop tourist facilities.
Development of a framework for visual arts curriculum for Polytechnics in Ghana
(2003) Mensah, Peter Ndaahale
Ghanaian polytechnics, having been elevated to the status of tertiary educational institutions have a distinctive role in producing middle-level manpower which is vocational or technical oriented for national development. The production of this middle-level manpower should be in the priority areas including Fine Arts and Industrial Arts. Ghana needs artists in critical areas such as Health, Engineering, Agriculture, Education, Applied Science and Applied Social Science, to help in its developmental process. But a critical observation of Ghanaian polytechnic education reveals that the middle-level manpower in Art needed to build adequate and innovative infrastructure for national development is grossly inadequate. This thesis, therefore, seeks to address this serious problem. The main problem of this study has been to develop a framework for Visual Arts curriculum for Ghanaian polytechnics which. is envisaged to produce men and women who will help produce the artistic goods and services for national development. It was hypothesised that there is no significant difference in the views of teachers and students on the limited nature of the scope of the Visual Arts programmes run by the polytechnics in Ghana, and that, teachers and students agree that there are additional relevant and feasible Visual Arts programmes (and work oriented content) that could be introduced in polytechnics in Ghana. The thesis, first, critically examines the existing Visual Arts programmes run in Ghanaian polytechnics. It analyses and discusses the present content of the Visual Arts programmes in. the light of Ghana’s philosophy of self-reliance, Ghana’s policies on tertiary education and Ghana’s policies and objectives of polytechnic education. It also critically examines whether the Visual Arts programmes run in Ghanaian polytechnics have been based on the philosophical and psychological foundations which Ghana has adopted for the development of its curricula of schools. The thesis then examines and discusses the objectives set for the Visual Arts programmes and the methods used in teaching the Visual Arts programmes. Further, it queries whether the Visual Arts programmes have ever been evaluated since their inception. The major findings have been: the scope of the Visual Arts programmes (and their content) presently offered in Ghanaian polytechnics, is woefully inadequate and limited; the inadequacy of the Visual Arts programmes exerts too much pressure on the polytechnics because of the application of the large number of students for the limited Visual Arts programmes they offer; the Visual Arts programmes are deficient in work oriented content and courses and hardly satisfy the production of the middle-level manpower in Art required for national development; the Visual Arts programmes do not adequately reflect Ghanaian/African culture; they do not also make the graduates adequately self-reliant as the nation requires and they have not been evaluated ever since their inception. Secondly, the thesis seeks to develop a framework for Visual Arts curriculum upon which Ghanaian polytechnics could further develop Visual Arts syllabuses. Accordingly, data have been secured from field-work. The population chosen for the study included teachers and students of polytechnics in Ghana, teachers and students of KNUST, Kumasi and University of Winneba, Winneba and personnel of the MOE, Accra. Since there were many strata to deal with, the Stratified Sampling method has been used for the study. Thirty percent of the accessible The Descriptive Survey and the Analytic methods have been used to analyse the data. The data collected have been critically analysed, interpreted and conclusions drawn. The findings been that, Ghanaians as a people want additional Visual Arts programmes (and their content) run in Ghanaian polytechnics: and these additional Visual Arts programmes and their content have been outlined in detail after. Based on the findings the thesis proposes a framework for Visual Arts curriculum for Ghanaian polytechnics. The framework encompasses: i. The national philosophy on which polytechnic Visual Arts programmes should be based ii. The national policy on tertiary education on which the Visual Arts programmes should be based iii. The philosophical and psychological foundations for Visual Arts education in Ghanaian ethnics, iv. Objectives for running Visual Arts programmes in Ghanaian polytechnics v. Visual Arts programmes and content Ghanaian polytechnics should run vi. Methods of teaching and learning the Visual Arts programmes, vii. The evaluation and methods of evaluating the Visual Arts programmes run in Ghanaian polytechnics. The thesis finally outlines the trial-tests done to ascertain the efficacy of the framework. Based on the findings, the thesis offers useful recommendations and suggestions that would make the framework feasible. Some of the recommendations are: there is the urgent need to expand the scope of the Visual Arts programmes presently offered in Ghanaian polytechnics; adequate work was sampled for study. Questionnaire was used to collect data from the sample nted content and courses should be incorporated in the Visual Arts programmes and the Visual programmes run Ghanaian polytechnics should be evaluated from time to time to address c need of the day.
Ghanaian Mythography: Ethical and Contextual Relevance to Contemporary Culture
(2005) Agyeman, Osei
Many of the publications on Ghanaian art history tend to place more emphasis on the formal aesthetics of art that is, works are analyzed largely in terms of styles and materials used. There is hardly any account which delves into the origins of the rather ubiquitous verbal attributes of this symbolic art. There is no doubt that there are occasional references to proverbs, aphorisms, etc. as the main source of inspiration for many art works. And even though some sociological works may have been done in isolation on either the origins of the verbal and visual forms, a comprehensive art historical work, using myth as a reference point is a rare combination. Myths in themselves have been said to be good historical indicators especially in places where written records were absent. In this regard, they have been acknowledged to fill in the time gaps with folk stories which could have been facts, but because they were orally transmitted, they assumed exaggerated dimensions. As far as artifacts go, their role in the recording of history is also very well acknowledged. Archaeologists will testify to the immeasurable role artifacts have played in the dating of events as well as the revelation of sociological, psychological, cosmological and even cultural information of humankind in the by gone years. Therefore, using two important historical indices - myth and visual art, for the ethical and contextual evaluation of Ghanaian art is unique. In this thesis, an investigation is done into the mythical equivalents of indigenous and contemporary Ghanaian art after an overview of mythical representations in art in general, which happens to preoccupy the study in the literature review.
Theoretical foundation of the KNUST Painting programme: A philosophical Inquiry and its Contextual Relevance in Ghanaian Culture
(2006-04-27) Seidou, Kari Kacha
In the few times the College of Art, Ghana has surfaced in any influential study, there has been a general silence over its intellectual legacy...
Technical Problems and Solutions in the Indigenous Leather Industry: Implications for Art Education in Ghana
(2008-07-12) Boahin, John Osei Bobie
Leatherwork is an art form that has a strong traditional foundation in Ghana; it is practiced in diverse forms in different areas of Ghana, particularly in the three regions in the northern part of Ghana where production is highly concentrated. The Ghana government’s desire to promote the indigenous vocations in schools has necessitated the improvement of the technologies used by indigenous leatherworkers. 21 Some pertinent problems affecting the industry were identified these are (a) Lack of simple but efficient tools and equipment for the execution of the tanning process, (b) Poor quality leather resulting in offensive odour and its susceptibility to grow moulds as a result of fungal attack, (c) Non-fast vegetable based dyes that easily fade in the presence of sunlight and also bleeds when washed, and (d) Limited colour range of red, black, white and brown. The research will lead to the following solutions to the identified problems: (a) The production of new tanning equipment comprising, tanning vessels, scudding, tumbling and cutting machines will improve the leatherwork industry. (b) That, leatherworkers will be able to produce some working tools locally. (c) That alternative local colourants can be applied on leather. (d) The offensive odour and the fungus attack on leather will be subdued. Solutions to these identified technical problems associated with traditional leatherwork techniques to make it attractive to leatherwork education in Ghana are the focus of this project. The results of the research were attained through the experimental research methods The research lead to the following solutions to the identified technical problems: (a) introduction of alternative tanning vessels that will be useful for academic and commercial purposes, and make it possible for tanning to be done indoors and outdoors; (b) Development of scudding equipment for dehairing and fleshing, the equipment makes it possible for the craftsman to do scudding in a more comfortable posture for increase in productivity; (c) Design and construction of 22 two types of leather dryers, open- dryer and electric-dryer; (d) Tumbling equipment for boarding oil into leathers and also softening leathers and fur, and (e) Thong cutter for cutting long strips of leather for thonging or weaving. The research also identified alternative colourants that are locally available for colouring leather; these are grouped into two, Dyes and Pigments. Dye; The dyes were vat dye and suede dye, these proved to be useful on leather. and the identified pigments were oil paint and acrylic which were successfully applied on leather. Starch was also mixed successfully with vat dye as pigment in colouring leather. The research also identified techniques for controlling the offensive odour associated with indigenous tanned leathers and fur, and prevents the development of moulds on them in order to promote the marketing of leather articles locally and awaken the export of leather articles which has not been very attractive due to these problems. The findings of the research will help in the promotion of leatherwork education and the indigenous leather industry in Ghana It is recommended that specially equipped studios be built in schools at all levels for the teaching of every aspect of leatherwork to sustain the manpower needs of the industry. Beside, a research Center must be established to support the industry in the areas of design, material and technological development to meet modern needs as well as boost up national development.
The Role of Art in the celebration of Asogli Yam Festival and its Significance to the Socio-Economic Development of Ghana
(2008-07-12) Gbadegbe, Richard Selase
The celebration of Asogli Yam Festival by the people of Ho, Kpenoe, Takla and Akoepe comes with the expression of joy and happiness. It is a period for social integration, display of rich culture and stock taking where artistic and economic features of the festival are displayed both knowingly and unknowingly. The study therefore sought to highlight the artistic aspects of the festival as well as its socio-economic features. This was successfully executed by giving a detailed description of the activities of the festival based on the rites and rituals performed. As a result, a framework was established which helped the researcher to classify the specific art forms used during the festival into groups and also to explore its socio-economic interests. With the historical background of the people, a comparison has been made between the Asogli Yam Festival of the past and present in which clear-cut ideas were developed for possible improvements on the festival. The study has succeeded in exposing the rich culture of the Ewes and for that matter the Asogli people to readers and at the same time exploring the economic fortunes of the festival which was facilitated by the appreciation of the arts. The Descriptive Method of research was used by the researcher to describe and interpret events. This was combined with statistics in the form of tables and figures to analyze and interpret data. Data was collected using questionnaire, observation and interview. The Stratified Random Sampling method was used to obtain the sample population for the study. The study was grouped into six chapters. Chapter one talked about the introduction. Chapter two dealt with the review of related literature, chapter three centered on the methodology for the study and chapter four consisted of the analysis and discussion of data. Chapter five included the presentation of the main findings and chapter six talked about summary, conclusion, recommendations, appendix, glossary and references.
A Human Resource Management Policy Development (Hrmpd) Framework for Large Construction Companies Operating in Ghana
(2008-07-14) Agbodjah, Lily Sena
A framework for the development of Human Resource Management (HRM) policies in large construction companies in Ghana was the main outcome of this study. Ongoing research on HRM practices of project-based organizations have been undertaken mainly in the developed world especially Europe and North America although some current research has focused on developments in the developing world. There has however been very little research on HRM policy development guides for HRM practitioners within the construction industry globally and Ghana in particular. The extent of HRM practices and policies in large construction companies operating in the country was examined. Following the literature review and field work, a Human Resource Management Policy Development (HRMPD) framework was developed to aid large construction companies to develop appropriate HRM policies to enhance their HRM function and productivity. A mixed method research approach and a cross-sectional research design were adopted. Quantitative data collected were analyzed using univariate and bivariate techniques whereas Qualitative data were analyzed using structured narrative and content analysis methods. The research concluded that, large construction companies rely on personnel management rather than HRM ideology in managing employees within their organizations. It was found that, these companies lack appropriately trained personnel to manage the HRM function hence the function is relegated to the background and is mainly reactive. In addition, these companies do not have HRM policies to guide the function as only a few have implicit ones. Companies rely on Collective Agreement and/ or Management Prerogative in managing their people. In view of the negative effects of pursuing personnel management practices, the investigation showed that, companies have realized the need for appropriate HRM policies to espouse their philosophies concerning HRM as well as improve their competitiveness in attracting and retaining the right calibre of employees and in project delivery. This study has contributed significantly to existing literature on HRM and has provided useful pointers for enhancing the HRM function within these companies. The proposed tool, the HRMPD framework, aims at assisting large construction companies operating in Ghana develop appropriate HRM policies to enhance their HRM function. A flow-chart was adopted for the framework design which is in three main stages: formulation; implementation; and evaluation. The evaluation stage of the framework feeds back into the first two stages if the policies are not satisfactory after evaluation. The framework was tested on a sample of stakeholders, via attitude testing using the Likert Scale, who agreed with the logic and content of the framework. It was further validated via review meeting and attitude testing on selected ‘Experts’ who also agreed to the logic and content of the framework with suggestions for possible improvement. Key words: Human Resource Management; Human Resource Management Policy; Policy Development Framework; Construction Industry; Ghana
Ghanaian jewellery industry: its problems and solutions
(2008-08-10) Kotoku, Worlanyoh
Many developing countries including Ghana possess significant deposits of precious and non-precious metals, materials, and stones, but many of these natural treasures are merely exported as raw materials. Although the countries including Ghana have an ancient tradition of jewellery production and a large handicraft capacity for manufacturing, jewellery is only exported in very modest quantities, if any at all. This potential can be exploited if the problems in the industry are identified and solved. Ghanaian goldsmiths and other jewellers are all known for their important jewellery manufacturing and have raised their work to the Master craft level, taking on apprentices who help them to produce their works including jewellery. Jewellery is widespread in all cultures in Ghana. The gems and jewellery often say something about general identity, ethnic identity or the wearer’s status. It also reveals the culture in which they originate. Every imaginable resource and item can be used in jewellery production. Be it artificial or synthetic material like plastic, broken bottle etc, or natural materials like leather, animal bone, seeds, coconut shells egg shells, metals like gold, silver, brass, iron, and even clay and tree backs, and also bamboo. In the course of carrying out this work, surveys were carried out on both producers and consumers of jewellery products. The researcher at the end of the work, has unearthed as many problems and solutions as possible. The following methods of research were used to come out with this thesis: Questionnaires to producers and consumers, personal interviews, documents including books, journals, magazines, newspapers, and periodicals were also be used as regards to the review of related literature and Internet. This research project covered Accra, Ho, Kumasi, Koforidua and Cape Coast, and it is hoped that with the recommendations implemented, and the government playing its role, the jewellery industry in Ghana would live up to its desired expectation. Jewellers must also know that they have a role to play in the success of the industry.
Asante Folklore and Kumasi Kiosk Architecture:a Visual Exploration of Hybridity and Mythography
(KNUST, 2009-02) OPPONG, E. T.
This studio-based research improvises on the architectonics of Kumasi kiosks. I present the ensuing body of artefacts as a working prototype which joins on-going cultural conversations on hybridity in contemporary art. The typical Kumasi kiosk is referenced as a site for negotiation of boundaries in its design, setting and function, but I have also made allusions to suggestions of hybridity and boundary negotiation in the polyvalent structure of Asante myth and folklore. I made a close study of three hundred kiosks located in the urban quarters of Kumasi. I also engaged such thinkers on hybrid spaces as Homi Bhabha , Jacques Derrida, Michael Foucault, Stuart Hall, Paul Gilroy, etc, to discourse on Asante mythology. I laid emphasis on the myth of ɔhyeεni (ɔhene-king), a patriarchal figure who negotiates boundaries, Asante and Akan filial kinship narrative from Asante history. I employed a personal technique of painting, -Aberphoh, which is a reconfiguration of abstract expressionist and surrealist genres. Asante art forms laden with their myths, some of which visually portrayed mythology, especially the totems, were also studied as the basis upon which art works were recreated in the form of paintings on sculptural structures created with plywood. I used the Asante myth of Abubu-mmabaa to explore the structural dialogue of inside and outside in my hybridized artefact. I have also presented an iconographic catalogue of totems and symbols which appear on the inner and outer surfaces of my structures. I present my project as an artefact to be contained in a gallery space as well as a structure or site which contains other artefacts. Like the Kumasi kiosk, these structures are not intended to be permanently site-specific. Each is collapsible and foldable and thus portable to any possible location for re-erection and exhibition. It is a cross genre installation interfacing painting, sculpture, architecture, poetry and performance.
Household Energy, Coping Strategies and Health Effects in the Bongo District of Ghana
(2009-07-14) Odoi -Agyarko, Aba Obrumah
Currently millions of people around the globe rely on wood as a source of fuel for cooking. Although this situation not only pertains to impoverished rural communities, it is within these communities and in developing countries like Ghana that this is occurring the most. The burning of wood in open fires is causing a number of health problems but is also deteriorating for the rural household economy as well as for the local and global environment. Women and children are the main groups exposed to the indoor smoke produced while cooking. Illnesses as a result of this exposure take millions of lives every year. This thesis looks into the relationship between rural household energy consumption patterns, coping strategies and health effects for domestic cooking in the Bongo district in the Upper East Region of Ghana. Several methods including household survey; focus group discussion and key informant interviews were employed to collect data at household and individual levels. The methods involved queries on several aspects of household energy consumption. The survey of household energy consumption pattern was carried out in fifteen communities comprising of 625 households between January-April 2006. The households surveyed covered heterogeneous population belonging to different income, educational and social groups. Daily average concentrations of respirable particulates and carbon monoxide from woodsmoke in 45 rural homes selected through stratified random sampling from the Bongo district in Ghana was also quantified using UCB Particle Monitors. CO was measured with Onset HOBO Loggers. Graphical, cross-tabulation and multinomial logistic regression methods are applied to data drawn from Household Survey. The results indicated that there was more availability and utilization of solid biomass fuels as energy resources in domestic sector as compared to the commercial fuels. Crop residues, firewood and Charcoal were found to be the three main fuels used for cooking, though LPG was also used along with biomass fuels. But complete conversion to cleaner fuels has not taken place yet even in households that has been using LPG for many years. Income was an important factor determining the choice of fuel for cooking, but there were some socio-cultural factors which were equally important in making fuel preferences at household level. The use of biomass fuels; from it collection to combustion also has impacts on the health of the user. Result from the woodsmoke monitoring shows that the values of respirable particles (PM2.5) ranged from 0.05–6 _g.39mg/m3 and 2.90- 45.60ppm for CO. Both PM2.5 and CO concentrations were well above both the World Health Organisation 24-hour Guideline and Interim Targets. Observed health effects from the collection and use of biofuels included eye discomfort, headache, backache, coughing, skin irritation, stiff necks and chest pains. Extrapolation of diseases with PM concentration showed that households were in a higher risk of being infected with respiratory diseases from the use of biomass fuels. This observation confirms with the self-reported symptoms associated with biomass fuel use where respiratory diseases dominated (cough, wheezing, shortness of breath, eye irritation). Considering that traditional biomass will likely continue to be the most popular cooking fuel in rural areas of the district in the near future, and that households can achieve considerable welfare gains from improvement in stoves and kitchen ventilation, the analysis suggests that the government should consider reviving the improved stove program with a new advanced stove strategy coupled with conducting advocacy campaigns on how to improve kitchen ventilation.
Clothing and fashion in Ghanaian Culture: a Case Study among the Akans
(2009-07-14) Dzramedo, Bernard Edem
Clothing generally is an area of great interest to mankind, but its relation to the changing cultural and its significances in the moral drive of Ghanaians generally and the Akans in particular, is perhaps the least talked about by researchers and scholars. The desire to link tradition and morality to modern cultural dynamism in relation to its expression in the dress-life of Ghanaian youth is limited. This has probably contributed to provocative, dangerous and promiscuous life-styles of today’s youth in Ghana. Moral break down with regards to clothing is obvious among the Ghanaian youth and it does not speak well of us as a country. Moral codes are based on traditional and cultural acceptable factors regarding what is decent or indecent in the social domain. The researcher therefore attempts to assess the changing trends and significance of traditional systems regarding clothing and adornment. The moral standing of the cultural system relating to clothing and fashion becomes a yardstick of morality to bring to bare the importance of realising situations and addressing them correctly, rather than leaving it to the ‘game of changes in fashion trends’. To give a firm indication and implication for immediate action to be taken, this dissertation sought to know the trends of events in the history of clothes, link it to changing trends in recent times in Akan society, both indigenous and contemporary to assess the moral standing of the youth in particular within Akan society on the matter of decency in clothes and the way forward. The researcher employs qualitative and descriptive methods of research, using instruments such as interviews, questionnaires, observations and photographs. The population of the study was centred mainly on traditional leaders, learning institutions and the Ghanaian youth in general. The study is captured in six chapters, besides the first, second and third chapters that dealt with the introduction, review of related literature and methodology respectively, the fourth chapter described and analysed data gathered from the field study into eight sub headings. These areas addressed historical evidences of clothing in Ghana; clothing associated with traditional institutions: its relevance in colour and beauty concepts among the Akans; clothing and fashion accessories; relevance of colour in Ghanaian clothing and fashion styles; beauty, body shapes and its effects on clothing; body marks, influence of foreign fashion on the culture and fashion of Ghana, with its inappropriate use of clothing among the youth; morality and modesty in Ghanaian fashion and culture: possible health risks associated with body arts. Chapter five dealt with the interpretation of findings with regard to the various ways of collecting and analysing the historical information. These were explained, their significance and changes regarding clothing that are associated with traditional institutions are equally considered. The questionnaire was vividly analysed and interpreted using Statistical Package for Social Sciences (SPSS) data analysis instrument to assess the trend of responses from the respondents regarding the various areas of the questions asked. On this note, some main findings were realised, which were elaborated on at the end of this chapter. The last chapter (six) summarised the findings of the study, tested the hypotheses, drew a conclusion and gave recommendations based on the findings. At the end, the findings revealed that, tremendous changes had occurred in the historical trends of clothing and fashion among Ghanaians in general and Akans in particular over the centuries. The changes which are mainly being influenced largely in recent times by foreign styles of fashion are impacting negatively on the moral and cultural lives of the Akans particularly and Ghanaians in general, contributing to undesirable practices among the youth. It is believed that, the situation can be controlled if drastic measures are taken by meaningful Ghanaians and the researcher’s recommendations are given consideration.
Development of Information and Communication Technology (ICT) Modular Framework for the Department of Industrial Art (DIA), KNUST
(2009-07-14) Asinyo, Benjamin Kwablah
The study developed ICT Modular framework to provide a holistic ICT-based training of students at the Department of Industrial Art (DIA) of the Kwame Nkrumah University of Science and Technology, Kumasi. The framework was formulated on the basis that the current interdisciplinary computer-based modules in the Textiles, Metal Products Design and Ceramics programmes run by the Department lack the needed software and courseware application programmes in content, instruction, course structure and description. Also, the computer-based modular course lacks educational experience in scope and sequence. There is no coherent and comprehensive framework on ICT literacy to reflect the much talked about ICT-based education. The study employed a classical curriculum model design for the examination of the computer-based modules in the programmes of DIA curriculum, and the development and implementation of the ICT Modular Framework. The current modules were examined in view of scope, sequence and methodology of instruction. Interview guide was used to collect remote data from stakeholders in triangulation to questionnaire which was the main technique of data collection. Main findings of the examination of the current modules recommended the development of the ICT Modular Framework. This was pretested using the behavioural objective domains, true-experimental design and checklist for purpose of recommendations and integration. The study revealed two major findings. The first set of findings revealed that the current interdisciplinary computer-based modules should be reviewed to meet prevailing conditions. The second set of findings established that the proposed framework upon pre-test served as a constructive model for teaching and learning of ICT at the Department of Industrial Art, KNUST. The framework provides mastery learning approach to teaching and learning of ICT. This conscientiously focuses on consistency, sequence and subject relevance. The framework is highly significant to other Visual Arts Disciplines at the tertiary level, as it serves as a multi-modal approach to teaching and learning of ICT. It also serves as a vehicle to encourage creativity and creative thinking of learners, using ICT tools.
Development of a Methodology in drawing for students in the Department of Publishing Studies
(2009-07-15) Asare-Forjour, Estherlina
“Drawing” is a universal language for self-expression and a means for conveying concealed meanings of an author’s intentions to others. Drawing forms an integral aspect of book illustration. Drawing for illustration poses a challenge to students on the Publishing Studies programme in the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. This is primarily because most of the students who are admitted to the programme have backgrounds in Science, General Arts, Business Studies and other programmes which do not have drawing as part of their studies like those who offer Visual Arts which has drawing as part of each subject. Because the Publishing Studies programme gives equal opportunity for all Senior High School students to access the programme and drawing is a required course, drawing has been made a compulsory course in the first year. Each student therefore has to learn to draw in the first year before he/she is allowed to choose his /her preferred specialist areas which are Book Design and Illustration, Printing Technology and Management, and Publishing Administration and Management. This makes those students with no art background, specifically in drawing, to face difficulties when they are confronted with drawing in the first year of the programme. Problems with drawing in Year One make Publishing students refrain from choosing Book Design and Illustration when they get to the second year of the programme. The study therefore adopted the qualitative research method to study the teaching and learning of drawing in the Publishing Studies programme and to explain how a step-by- step teaching methodology can equip students on the Publishing Studies programme with the necessary drawing skills that will encourage more of them to offer Book Design and Illustration (BDI) to enhance the publishing industry. The study involved pre-testing the new four-year teaching methodology with students in the Department of Publishing Studies to find out its effect on the students’ standard of drawing. The research found that art teaching at the Junior and Senior High School level is not done strictly according to the syllabuses provided; and that drawing is also not emphasized in the schools. As a result, many Junior and Senior High School students do not attain the knowledge and skills of drawing necessary for higher education hence the problems faced by students of the Department of Publishing Studies. Again, the study found that giving admission to a high number of non-art students into the Publishing Studies programme and requiring them to have enough drawing skills to specialize in Book Design and Illustration places more of these students at risk of dropping out or opting for specialist areas other than Book Design and Illustration. This also poses difficulties for the drawing lecturers and the publishing industry. To add to this, the study found that what is taught in drawing does not match the stated course content or syllabus used by the Department of Publishing Studies. Furthermore, the teaching methods used for drawing do not make it easy for non-art students in the Publishing Studies programme. The study recommends improvements in the teaching methodology and course content for the drawing course. It suggests periodic revision of the drawing syllabus for the four- year programme to reflect changing trends in the publishing industry; teachers adhering to the prescribed syllabuses set by the Ghana Education Service to guide the teaching and learning of drawing at all levels; providing opportunity for art teachers to be more creative in the teaching of art, to enable them to be more innovative in catering for diversity in the art classroom; adoption of the step-by-step method of teaching specified in this report to help achieve efficiency in the teaching of drawing in the Department of Publishing Studies in particular; and, further research into how creativity in the teaching and learning of drawing can be fostered in the various departments of the Faculty of Art in KNUST.
Educating the Deaf in Vocational Skills: Selected Schools for the Deaf in Focus
(2009-07-15) Kyere, Kwame
Unemployment is a major problem facing Ghanaian school leavers. This problem is sometimes more severe among school leavers who are deaf. This alarming trend is seen in the growing number of deaf persons turning into begging and other antisocial activities that degrade them and create negative reaction towards them by people who are not deaf. Information from Bechem Technical Institute for the Deaf in 2005 indicated that, eight out of ten students who graduate from the vocational centre in the school do not work with the vocational skills they have acquired in any gainful employment. This was linked to difficulties in the vocational education of the deaf and some social factors outside the school environment which limit the employment chances of the deaf. It was based on these that the study commenced to find out the underlining difficulties in vocational education of the deaf in Ghana and also to find out the reasons why those who undergo vocational education in schools for the deaf are not able to work with their skills either in self-employment or working in an existing venture. Books and other documents were read for information on the theoretical framework of school curriculum in Ghana, vocational education, attitudes towards the disabled with emphases on the deaf as well as empirical study relating to the topic. The study made use of qualitative research methodology in data collection, analysis and discussion. With three schools for the deaf in three regions of Ghana selected as a case study, the researcher employed observation, questionnaire and interview as data collection instruments. Data gathered were described with illustration. Photographic camera was also used to take pictures of selected artefacts made by students during the study. The main findings are that, vocational education faces multiple problems such as financing, unavailable up- to-date tools and materials and unsuitable syllabi and teaching/learning materials. Again, parental neglect, superstition and communication barriers were identified as the main problems that limit the employment chances of the deaf who have graduated with vocational skills. It is recommended that selection of teachers for vocational education in schools for the deaf should be based on adequate qualification in special need educational strategies. Moreover, stake holders in education should help in providing funds, infrastructure, suitable teaching and learning materials and tools. There should be a vigorous public education through the mass media aimed at eliminating all forms of negative attitudes, beliefs, superstitions and discriminations that hinder the employment chances of the deaf after leaving their schools' environment.
The Contributions of International Development partners to rural poverty reduction in Ghana: a case study of the International Fund for Agricultural Development (ifad) and small-holder farming in the Sekyere-West District, Ashanti Region
(2009-07-15) Asamoah K., Kennedy
Although available statistics in recent years reveal a decline in poverty in Ghana, many people still live below the poverty line. Rural small-holder food crops farmers are the most vulnerable groups affected by poverty. They have limited access to productive assets, most especially micro-credit. Many international development organisations have emerged to help alleviate some of the problems encountered by the rural poor. The International Fund for Agricultural Development (IFAD) as an international development partner in Ghana, has been working with small-holder farmers in the Sekyere West District since 2000 with the aim of improving rural income, reducing vulnerability, ensuring rural household food security and generally improving the well-being of the rural poor. This thesis examines the effects of IFAD’s project on food crops production, employment as well as income levels and the general welfare of small-holder farmers in the District. A random sample size of 240 IFAD assisted farmers in the District was used to undertake the study. Cross-sectional data covering the farming years (2000 – 2004) were elicited from the farmers through structured interviews and focus group discussions. Information such as sources of financing, farm input, farm size, crop yields and income levels were sought from the farmers. The study revealed that IFAD, as enshrined in its policy statement of ensuring gender equity in the distribution of its resources/assistance (IFAD, 2000), equal number of male as that of female small-holder farmers (approximately 50-50 respectively) were selected in the District to participate in the project. The study also showed that majority of the farmers interviewed depended on farm income as their main source of subsistence. Micro-credit provision was particularly seen as the most important factor influencing food crops production in the District. The study also showed that the effective training and monitoring activities of IFAD field staff ensured that resources given out to the farmers were not misappropriated. The study showed that the project registered a high food crops production rate as well as a high loan repayment rate of the farmers. Furthermore, the study revealed that the average income of beneficiary farmers increased considerably over the project period due to the good marketing strategy introduced by the project. Based on the findings of the study, it was recommended that the government should adopt and replicate the IFAD intervention scheme in all the other districts in Ghana since the project could have a multiplier effect on the livelihood of the rural poor especially the small-holder farmers.
The Role of Performing Arts in Asante Culture
(2009-07-15) Arthur, Nana Ama Pokuaa
The study which is based on a qualitative research approach touched on the Asante Performing Arts and its role, importance, and meaning in the people’s culture. The study aimed at educating readers on the “real McCoy” of one of Asante’s most significant cultural arts since Asante youth appears to pick on incomplete knowledge from unreliable sources, such as the tradition of oral resources resulting in the modification of Asante Performing Arts. Again, due to the influx of foreign religious bodies and technological advances, the Performing Arts seem to be gradually losing their indigenous roles and significances. Due to the dissimilarities of elements or individuals in the population, the stratified random sampling was adopted and the population was divided into various strata. 30% of each group was taken meaning each stratum was represented in the total data sample. Observation, interview and questionnaire were the main data collection instruments. Results showed that, the various Performing Arts form a preparatory experience of the curative process at the various shrines and permeates the life of every Asante from life to death. The indigenous songs performed at marriage and funerals rites have been replaced by gospel and secular songs, and dances performed during these rites have also been merged with the foreign ones. In sum, music and dance syllabus for primary and junior high schools should be reviewed again with special attention given to the traditional music and dance starting from the child’s immediate local culture.
The Bead Culture among the Krobo of Ghana
(2009-07-18) Avotri, Victor Nyuieko Kwami
The problem of this study was that, although Krobo have been associated with bead use over along period, the relevance of this tradition to the contemporary social, cultural, religious, economic and political life of the people has not been assessed especially within the context of globalization. The objectives of the study therefore is to appraise the existence of the legendary bead culture among the Krobos of Ghana with the view to assessing its relevance within the contemporary culture of the people and its readiness to face the challenges of the day and also its preparedness for the future especially within the context of current trends of globalization. Qualitative research methodology was adopted in this study. These included mainly descriptive, explanatory in addition to quasi- experimentation as well as correlation. Observation, questionnaire, and interview were the main data collecting instruments used. Data from both primary and secondary sources were gathered from observations, interviews and questionnaire served to individuals. Others were from books, magazines, newspapers, and the internet. The research found that there is a vibrant bead culture among the Krobo of Ghana, and that the youth are actively involved in it, contrary to the thinking that, the youth are not very active in the bead-culture. It is also evident that the role of the bead in the contemporary social, cultural, religious, economic and political life of the Krobos is enormous and that the influence of post modernity and the availability of other gems for aesthetic and other uses, could not wipe away the bead as the main jewellery of the Krobos. The research question, ‘is there a vibrant contemporary bead-culture among the Krobo of Ghana’, has thus been proven. It was discovered that, apart from bottles (glass) and ceramic dyes, the major tools and other complementing materials are all locally accessed. There is further evidence that despite the wastefulness that exists now in the industry, there is a future for both the bead culture and the bead industry not only among the Krobos, but the whole of Ghana given the degree of foreign tourists’ interest. It has been suggested that the necessary logistics and assistance be given to the local bead industries in terms of state/ private investment. In addition, through the more visible use of the bead by the traditional authorities as well as a conscious establishment of a promotional bead day celebration would all go a long way in boosting the bead culture and industry. As a way forward, a number of suggestions were made. Among these, is the need for Traditional and the District Assemblies to promote education of the youth on the bead culture as a way of sustaining their interest.
A study of selected indigenous Ghanaian women in some indigenous visual arts
(2009-08-09) Asante, Eric Appau
Women historically have played and are still playing enormous roles in the Socio-economic development of art both as visual artists and as themes of art works; but who would know? In Africa and around the world, men get almost all the attention for their creative endeavors. But with the multitude of roles the woman assume in Africa, especially in Ghana, as – mother, housekeeper, cook, water carrier, economic contributor and often sole provider , when would the woman have a chance to make her own artistic statement or voice her concern on this issue? This research work therefore is an attempt to explore, figure out and document some artistic roles, which women play in this age of gender equality and national development; focusing mainly on Selected Indigenous Ghanaian women 1. Pottery and Ceramics, 2. Mural and 3. (Weaving) Basketry. In this light, the researcher attempts to bring to identify and document the traditional roles of some Ghanaian women in selected indigenous Ghanaian visual arts. The study also seeks to investigate the roles, which women are playing in some indigenous visual arts for national development and also examines and discusses the use of women as themes in some Ghanaian arts. Studies such as this one would readers to know the extent to which Ghanaian women are involved in the productions, promotions, and distributions of some major Ghanaian traditional visual arts. This document also plays a very unique role of providing information to scholars, ethnographers, policy makers, art historians, gender activists, sociologists, and women organizations. The information contained in this thesis may be integrated in the developmental plans and actions of the policy makers of this nation, Ghana. It will contribute to knowledge on Gender and Art. The research methods used are the descriptive and analytical survey methods. The research tools employed are: questionnaire, interviews, observation, photography and video recording. The scope of the study has been limited to works produced by selected indigenous Ghanaian women in some indigenous visual arts such as pottery, weaving (Basketry) and Mural Paintings at Kpando, Bolga, and Sirigu. However, a brief mention will be made in comparison with other places where women are involved in the indigenous arts. The final study is presented in six (6) chapters in the following other: Chapter one begins with an introduction – a general commentary of issues on the topic and the background study follows before the problem statement. Then the Objectives, hypothesis, assumption, delimitation, limitation, justification of objectives, statement of purpose, importance of the study, research methodology, definition of concepts, the arrangement of chapters and lastly an ethnographic background of Ghanaian women. The second, Chapter Two, reviews the literature pertinent to the subject of this thesis. References that have a bearing on the topic from available published and unpublished sources were used. Chapter three presents the methodology of the study by giving a background to the geographical study area and the instruments that have been used in gathering information. Chapters Four displays the analyses of data from the field study with a presentation and discussion of major findings; Thus selected Ghanaian women as indigenous potters, mural artists, basket artists and Ghanaian women as themes of some visual arts. The final Chapter, five deals with discussions, summary, and conclusion and recommendations based on the research findings. It is highly recommended that women artists be given all the needed attention in Ghana; since this would go a long way to develop the country socially and economically.
The Disabled and Art: lives and works of selected Ghanaian physically disabled artists:a case study
(2009-08-09) Acheampong, Berko
Many people who have distinguished themselves in many subject areas have been documented and publicized. In the field of Art, brief biographies of some artists have been publicized none of whom is physically disabled from Ghana. Some disabled artists in Ghana exhibit a lot of rich knowledge and practical skills which have not been written down and may be lost after their death. It was the pursuit of this researcher to contribute to the documentation of selected disabled artists’ lives and works to serve as a resource material for art education. Through qualitative research, an enquiry was made into the following issues related to the practice of art by selected contemporary physically disabled artists:(a) demographic information, (b) nature of art work (c) techniques of art production, (d) conceptualization of art, (e) management of tools and equipment, (f) handling of media for art production and (g) description of works. . These fourteen physically disabled artists were interviewed using traditional face-to-face method. Besides, analysis of selected works of art by these artists was done. Since it is important for art educators to present a diverse representation of artists, materials, and processes in the classroom, examples of physically disabled artists and pictures of some of their works are provided for young students. The results of the research largely confirmed that art could help one acquire a job irrespective of one’s age at a certain level with minimal training. Furthermore the results confirmed that the disabled artists produce artworks to solve problems of the society. Finally, the study also reveals that their products portray their emotions, their personal nature, ideas and philosophy. It is recommended that more physically disabled persons should learn an aspect of art as a trade since art provides varying types of employment for disabled persons.

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